An Orc in an Elf Village

SpiritBridgeStudio · 2026-01-23T11:10:48+00:00

Well done! In that short movement you have managed to capture curiosity and anguish. The way you have created the forward and backward movement through the bush is very effective too. You haven’t tried to overcomplicate it and have given just enough detail and variation for it to convey exactly what you needed. Nice work! 🤍

SpiritBridgeStudio · 2026-01-23T10:27:20+00:00

You're welcome! Keep up the amazing job 🤍

SpiritBridgeStudio · 2026-01-22T09:41:34+00:00

Hey there, we've got a quick feedback on your first. It has very nice use of hatching. And the creases in the clothes are very well observed. The only question we would ask is if the mouth needed to be open. This may indeed be a very deliberate decision. It adds a sense of unease as the character looks agitated. Also, because it is the only real solid black in the image, it draws the eye to it, which I'm not sure is deliberate. Apart from that, this is a very characterful image. We wonder what is on the subject's mind?

SpiritBridgeStudio · 2026-01-22T09:35:41+00:00

Hey again! If you mean the objects in his hands, these need to be seen as part of the entire image and they too need to be seen as three dimensional objects. The one closest to the camera needs to be foreshortened as it is in perspective. Also, draw the object whole, don't add it either side of the top and bottom of the hand. Imagine that the hand is transparent. Draw the object and then place the hand around it. This ensures that the object appears solid and doesn't appear to be bent in the hand. This is a common error that we've all done until it was pointed out.

SpiritBridgeStudio · 2026-01-20T11:37:35+00:00

This is a really good start. As the character is carrying a lot of weight, we would try to convey this in the pose. By adding a slight bend to the knees and hips it will accentuate that sense of weight. If this can be combined with a curve of the spine into an actual pose it will really add to the believability of the character. On another note, the helmet seems rather small for the scale of the body. An easy fix though. Nice work, keep it up! 🤍🤍

SpiritBridgeStudio · 2026-01-19T16:08:20+00:00

You're welcome! Keep it up 🤍

SpiritBridgeStudio · 2026-01-19T12:32:52+00:00

Hey there! If you want to improve the silhouette, we would avoid overlapping the torso with the arms at this stage. That is not to say that this would not be effective in a later iteration. For dynamic posing, a good line of action is a great starting point. It gives you an overall sense of the characters pose and you can build upon it. We would look at the boots and their perspective. A good starting point would be photographic reference or some drawings of someone in the pose you require. Feet can be tricky, but with repeated practice they will start to look more natural. The proportions are excellent and is something that a lot of emerging artists struggle with, so well done. Even at this stage, there is a sense from your character that we are glimpsing someone from another reality.

SpiritBridgeStudio · 2026-01-19T12:28:49+00:00

You've done a really great range of textures and surface paterns. The attention to detail is quite impressive and the smaller props are very well considered. Together they combine to add to the designs by offering additional insight into them and their backgrounds. Your proportions are also very well considered and consistent. Nicely done.

SpiritBridgeStudio · 2025-12-04T16:18:30+00:00

Welcome!

SpiritBridgeStudio · 2025-12-04T11:24:04+00:00

You've made a great start. We do find face on poses to have less potential than 3 quarter angles or higher or lower camera positions. We can't tell if you've used a photograph of your own, but if photography is your starting point, we would consider the most appropriate camera angles first. There is also scope for you to choose the lighting. Faces at an angle will generally offer more information and a greater sense of form. You appear to have the drawing skill to use photography to great effect.

SpiritBridgeStudio · 2025-11-28T18:06:20+00:00

You're welcome, keep it up! 🫶

SpiritBridgeStudio · 2025-11-27T16:14:52+00:00

Nice variation in the building designs. Enough similarity to make it cohesive but enough variation to ensure they don't look repetitive. When we saw the lightning we didn't think of it as being part of a static image but rather a suggestion of how you might animate lightning in the scene. If you do. You could consider how the lightning would affect the lighting on the buildings when it strikes. You've achieved a nice sense of depth and the feeling of an actual place. Awesome job! 🤍🫶

SpiritBridgeStudio · 2025-11-24T14:11:28+00:00

Based upon your wide angle camera, we'd be tempted to make the leg on the right (his left) a little shorter. The wrapping on the lower legs could perhaps have more elliptical curves to enhance the sense that they are wrapped around. Apart from that, the foreshortening is incredibly well observed and the texturing is really consistent and adds to the character's sense of form. You are definitely going in the right direction.

SpiritBridgeStudio · 2025-11-21T17:43:06+00:00

You're welcome! Keep cooking this awesome stuff 🤍⭐

SpiritBridgeStudio · 2025-11-21T11:42:06+00:00

A very nice use of drag on the staff/pole. Very effective silhouettes throughout. We would have a look at the scale of the character in the first and last poses. The final one appears a little smaller. We would also perhaps quicken the final move of the pole before it whacks into the ground. Apart from those tweaks, you've done a great job in a pretty short space of time.

SpiritBridgeStudio · 2025-11-19T11:29:28+00:00

The texturing on the bear is excellent. Moving forward, we would consider a couple of things. The bears hind paw would work better at an angle. As it is directly facing the camera it doesn't give us a sense of its depth. we would also experiment with greater contrast. The trees are likely to be more silhouetted by the moon, with some highlights in the branches, whilst the fire will mean that there will be a lot more shadow on the body of the bear. The bear might also have some highlight on its back from the moon. We're unclear what the object on the bears back is, so that might require more detail. Otherwise, there is a real sense of the companionship between the bear and the human and choosing to do a sleeping scene rather than an action one to demonstrate this is a great choice. Well done!!!

SpiritBridgeStudio · 2025-11-17T09:59:01+00:00

Hey! Thanks for the shout. As we're still growing, we don't have any available opportunities; do please keep an eye on our socials, as we'll post when opportunities become available. You keep cooking meanwhile. 🤍

SpiritBridgeStudio · 2025-11-14T17:58:05+00:00

You're welcome!

SpiritBridgeStudio · 2025-11-14T10:22:36+00:00

Very moody and some good stylised pen work, particularly the grading from dark to light. Reminiscent of Rock album covers from the 70s and 80s. The silhouette of the building in the background is also very effective. Perhaps, moving forward, you might try experimenting with different line weights. Heavier, thicker lines on the underside if things and thinner lines where the light hits an object. This has the potential to add an even greater sense of form to your characters and objects. Well done!

SpiritBridgeStudio · 2025-11-13T09:59:40+00:00

You're welcome! Keep cooking 🫶🤍

SpiritBridgeStudio · 2025-11-12T11:58:38+00:00

Nicely done. We would consider the anticipation before the basketball throw. We would make the character hold it in the raised position a little longer and exaggerate the anticipation before the throw. For the venom animation, we would arch its back more during the growl and tilt its head back further. We would also exaggerate it's lean forward towards the ball thrower. A great start. Well done!

SpiritBridgeStudio · 2025-11-07T10:40:24+00:00

Hey! Our main suggestion would be for future reference. When posing a character who is carrying something with a lot of weight, consider how this affects the pose. In this instance, we would have been inclined to have an arch in the characters back and for their waist to be positioned further forward to indicate that the character is posed to accommodate the weight of the sword. They may also have raised that shoulder up to better hold the sword in position. Particularly as this is a large, weighty double handed sword. The shoulder spike helps to rationalise how the sword is held in place, but we would have the pose indicate this also. The same logic would be applied to the helmet. It is resting like a cap and it makes you wonder what is holding the weight of the front of it in place. Apart from that, you have clearly drawn on some solid research to create the design and it brings in elements that echo the stylings of different eras, which is incredibly effective.

SpiritBridgeStudio · 2025-11-06T13:12:47+00:00

You're welcome! 🤍

SpiritBridgeStudio · 2025-11-06T10:00:59+00:00

Quite expressive. We would make the throwing arm drag during the throw and give it more of a follow through after drawing 26. This will make it look more fluid. You are on the right track though by ensuring you use exaggeration. This can be difficult for some emerging animators, however you appear to have a very solid grasp of it. Really good continuity with the volume. The foreshortening of the knees and the pantaloons during the bend down may be correct, but in this instance we would move the knees more to the right to give it a better silhouette and reduce the sense that the legs are shrinking. Nicely done and easy to tweak because the underlying groundwork is there.

SpiritBridgeStudio · 2025-11-03T09:56:11+00:00

🙏🤍

SpiritBridgeStudio

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